So why not get lost

Destin 2021-11-15 08:01:26

David Lynch saw the word Lost Highway in the script of screenwriter Barry Gifford, and he immediately liked it, so he decided to make a movie called "Lost Highway", which is also the name of a hotel in the movie. I like this name. It is indeed a good idea to open a hotel called Lost Highway by the road in the desert.

Lynch’s film challenges people’s intelligence and nerves, and fears mystery. Every time you watch one of his movies, your favor and admiration for him increases by one point. He is not only a director, but also a painter, photographer and musician. Although his paintings are the same as the movies, they are somewhat incomprehensible. However, it is not something he cares about not being able to read and understand. He doesn't think you have to figure it out, as long as the viewer finds his emotions and feelings. Indeed, movies can be understood in their own way. According to their own experience and imagination, each movie is different for everyone, and every time you watch it, you have a different listening experience.

This is what Lynch makes me like. So I no longer pursue every detail and mystery of the Demon Night Wasteland. Everyone will have a nightmare. This is just a man’s nightmare. After waking up and discovering that life is still going on well, I feel lucky to be awake. And the dream will never end. It repeats itself. The beginning of me is the end of me. This circle coincides with human life.

In my eyes, David Lynch and Wim Wenders have a comparison and something in common. At least I found that they all like music and photography, Edward Hopper's paintings, and highways, and their soundtracks are also very brilliant. They are two of the living directors who I like very much. Besides, I am also interested in Imamura Shohei. Unfortunately, he has just passed away. Thanks to them for leaving so many good movies. I have a deep appreciation for these individual directors. pay tribute.

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Extended Reading
  • Derek 2022-03-27 09:01:05

    Compared to the women's dream of Mulholland Drive, this one is David Lynch's dream of a man's dream. It is a terrifying and eerie nightmare, a sensual and sensual spring dream, an anti-dream of remorse and jealousy, a crazy heavy metal soundtrack and a psychedelic atmosphere like a drug addict. Patricia Arquette asked the director to make out the temperament that everyone will fuck her, but "you will never get me". Archives

  • Angel 2022-03-26 09:01:04

    David Lynch's image intuition needs further research, but the design of sound is obviously systematic. The sound field is always free from the inside and outside of the screen, and the image itself builds a sensory art that is separated and integrated: sound precedes action, while characters It always lags behind. In the burst of light and shadow evoked by the sound, the character's state (emotion) is always dominated by the sound, which changes with the volume and the distance of the sound source, and the tone of the paragraph is also adjusted accordingly. The almost sarcastic tone in the bizarre plot can always integrate/reshape it, and the chaotic events that are repeatedly stacked and devoured self-generate a paraphrase system in “dream-reality”, disrupting the internal order of the narrative. The annular structure is more of a self-solidifying closed loop for the image, and it does not need to be burdened by its genre stereotypes, but in itself, it is not impossible to regard it as a confusing variation of dream/reality. This film can be better evaluated by looking at other works of David Lynch.

Lost Highway quotes

  • [Pete, disturbed by the saxophone music on a radio, switches the channels]

    Phil: What'd you change it for? I liked that.

    Pete Dayton: Well, I don't!

    Phil: I liked that.

  • Bill Dayton: The police called us today.

    Pete Dayton: What'd they want?

    Bill Dayton: They wanted to know if we had a chance to find out what happened to you the other night. And they wanted to know if you remembered anything.

    Pete Dayton: But... I don't remember anything. What'd you tell them?

    Bill Dayton: [after a long pause] We're not going to say anything about that night to the police.

    Candace Dayton: We saw you that night, Pete.

    Bill Dayton: You came home with your friend, Sheila.

    Pete Dayton: Sheila?

    Bill Dayton: Uh-huh. There was a man with you two.

    Pete Dayton: What is this? Why didn't you tell me anything? Who was the man?

    Bill Dayton: I've never seen him before in my life.

    Pete Dayton: What happened to me? Please Dad, if you know, tell me.

    [Bill and Candace sorrowfully look away from Pete]